DIRECTIONS 


FOR   


PREPARING  #  PAINTING 


THE  


NEW  IMPROVED 


§9 


PUBLISHED  ,0\LY  KY 


Edw.  F.- Davis  &  Co., 

Artist  Photographers, 


'18  South  Maix  Street 
fall  rivek,  mass. 


TAKK  NOTICE:— An  oi  iginal  publication,  trade-mark  or  title,  fas  for  instanca  the 
word  "Artograph,"  is  by  common  law  the  exclusive  property  of  the  person  or  persons 
j»ublishin-  the  same,  or  adopting  such  orij^inal  title  for  a  business  use  or  purpose.  Any 
person  or  peisons,  copying,  using  or  pul  lishing  the  same  without  our  consent  are  liable 
to  prosecution. 


Entfiod  according  to  Act  of  Congress,  in  the  office  of  the  Librarian  of  Congress  at 
WuKhington.  D.  ('.,  in  the  .vear  18«2,  by  Ei)\v.  V.  Davis  &  Co. 


DIEECTIONS 


FOR  — 


PREPARING  f  PAINTING 


THE  — 


NEW  IMPROVED 


PUBLISHED  OmY  BY 

Edw.  F.  Davis  &  Co. 

Artist  Photographers, 

58  South  Main  Street, 
fall  river,  mass. 


TAKE  NOTICE:— An  original  publication,  trade-mark  or  title,  (as  for  instance  the 
vrord  "Artograpli,"  is  by  common  law  the  exclusive  property  of  the  person  or  persons 
publishing  the  same,  or  adopting  such  original  title  for  a  business  use  or  purpose.  Any 
person  or  persons,  copying,  using  or  publishing  the  same  without  our  consent  are  liable 
to  prosecution. 

Entered  according  to  Act  of  Congress,  in  the  office  of  the  Librarian  of  Congress  at  Washington,  D.  C, 
in  the  j'ear  1882,  by  Edw.  F.  Davis  &  Co. 


Press  of  J.  H.  Fkanklin  &  Co.^  * 

FALL  RIYER,  MASS. 


TO  PUT  THE  PHOTOGRAPH  UPON  THE  GLASS. 


First  cut  the  photograph  the  exact  size  of  the  glass,  then  soak  it  a 
few  minutes  only,  in  cold  water,  and  place  it  between  the  folds  of  a 
handkerchief  to  remove  the  surplus  water.  Then  lay  it  face  up  upon 
a  piece  of  common  smooth  wrapping  paper,  cut  a  little  larger  than 
the  glass.  Now  with  the  fingers,  rub  on  thoroughly,  and  all  over  the 
face  of  the  picture,  thick  starch  paste  made  as  follows :  Put  in  a  one 
half  pint  tin  cup  a  few  lumps  of  starch,  about  as  much  as  you  can 
hold  on  a  teaspoon,  and  pour  on  cold  water  enough  to  merely  cover 
it  well.  Then  stir  it  thoroughly  and  place  the  cup  over  a  strong 
blaze  or  gas  jet.  Keep  stirring  it  slowly  until  it  begins  to  thicken, 
thcii  stir  much  faster  until  it  is  cooked  and  free  from  lumps,  when  it 
should  be  semi-transparent  or  of  a  slightly  gummy  appearance.  If 
it  looks  very  white  or  milky  you  have  not  put  in  water  enough  or  have 
not  cooked  it  enough.  If  very  clear,  thin  or  watery,  there  is  too  much 
water.  If  you  don't  get  it  right,  throw  it  away  and  try  making  it  over 
again. 

A  thin  paste  works  the  easiest  and  may  do  very  well  for  some 
photos,  which  had  not  been  mounted,  but  for  those  which  have  been 
taken  from  the  card,  and  especially  if  they  have  been  much  handled 
or  are  greasy,  the  paste  must  be  just  right  and  a  great  deal  depends 
upon  having  it  so. 

*  After  rubbing  the  paste  well  upon  the  picture,  rub  it  also  on  the 
inside  of  the  glass.  Now  lay  the  glass  down  upon  the 'picture,  and 
pick  up  the  picture,  paper  and  glass  altogether,  and  with  the  fingers, 
loosely  press  the  picture  against  the  glass  in  the  center  only.  Now  take 
the  rubbing  tool  in  the  right  hand,  and  letting  the  end  or  flat  part 
press  smoothly  and  firmly  against  the  back  of  the  rubbing  paper,  and 
with  a  slow  rubbing  motion,  rub  out  all  the  paste  from  the  middle  or 
face  of  the  picture  first,  gradually  working  it  out  towards  the  edges. 
Be  sure  to  rub  out  all  the  air  bubbles  or  glistening  places,  and  to  rub 
the  entire  picture  firmly  into  contact  with  the  glass,  but  do  not  rub  it 
very  hard.  While  rubbing  always  hold  the  picture  at  an  angle 
toward  the  light,  so  as  to  get  a  reflection  on  the  glass,  which  will  show 
you  when  there  are  any  glistening  places.  The  photo,  should  not  be 
allowed  to  get  too  dry,  but  keep  slightly  moist  by  dampening  it  with 
a  sponge  if  necessary.  Don't  get  it  too  wet  either  or  you  may  tear  it. 
Change  the  paper  for  a  clean  piece  occasionally  if  paste  gets  upon  the 
back  of  it. 


(4) 


The  thicker  the  paste,  the  more  trouble  you  will  have  to  work  it  ?11 
out  smooth,  and  the  more  glistening  places  you  are  likely  to  leave  in, 
but  the  more  certain  it  will  be  to  hold  well  to  the  glass  and  to  prevent 
glistening  from  coming  in  after  it  is  dry  j  while  thin  paste  works 
out  easier,  but  it  is  more  likely  that  glistening  would  come  in  after- 
wards or  that  it  would  not  stay  well  on  the  glass.  Best  to  get  used 
to  working  the  paste  as  thick  as  you  can  well.  After  it  is  on  nicely 
let  it  dry  for  an  hour  or  two,  or  if  you  notice  that  many  glistening 
places  are  coming  in  as  it  dries,  or  if  it  Is  on  imperfectly,  soak,  it  in 
water  awhile  and  then  carefully  pull  the  picture  from  the  glass,  and 
try  pasting  and  putting  it  on  over  again. 

GRINDING  THE  PHOTO. 

After  thoroughly  dry  then  begin  to  grind  the  paper  or  picture  upon  the 
back  with  a  small  piece  of  emery  cloth  cut  about  an  inch  square.  Rub 
it  briskly  over  the  paper  with  the  finger,  or  by  holding  one  corner  with 
the  thumb  and  middle  finger,  with  the  end  of  the  forefinger  pressing 
upon  the  cloth.  Rub  in  a  circular  motion  mostly,  and  keep  rubbing 
over  every  part  of  the  picture  until  you  have  nearly  ground  off  all  the 
paper  itself,  or  until  it  begins  to  get  very  thin,  and  to  have  a  slightly 
scratchy  appearance.  When  it  begins  to  get  very  thin  you  must  use 
caution  not  to  grind  it  through.  Sometimes,  and  for  grinding  upon 
small  thick  places  while  other  parts  look  thin  enough,  you  let  the  end 
of  the  forefinger  nail  press  upon  the  corner  of  the  piece  of  cloth,  and 
then  grind  or  scratch  slightly  into  the  paper  by  carefully  rubbing  back 
and  forth  over  the  thickest  places  until  you  have  the  entire  picture 
ground  as  even  as  possible. 

The  grinding  is  the  hardest  part  of  the  work,  but  with  a  very  little 
practice  and  a  few  times  trying  any  one  can  quickly  learn  to  do  it 
successfully.'  If  you  grind  a  small  hole  through  or  small  pieces  of 
the  paper  flake  off,  don't  let  this  discourage  you,  but  keep  on  grinding 
the  thicker  places  and  avoid  the  thin,  so  that  there  are  no  places  too 
thick  and  none  too  thin  if  you  can  avoid  it.  Thin  places  and  holes 
will  have  to  be  touched  up  afterwards  in  the  coloring,  and  it  is  more 
difficult  to  do  this  and  to  paint  the  picture  nicely,  than  when  you  have 
the  picture  well  ground.  A  great  deal  depends  upon  the  kind  of 
paper,  as  to  how  it  will  grind,  also  upon  how  well  you  have  put  it  upon 
the  glass.  If  your  paste  was  too  thin  or  if  you  had  left  bunches  of 
paste  in  the  picture  it  will  grind  more  difficult,  or  if  there  is  paste  left 
on  the  back  of  the  paper. 

CLEARING  THE  PHOTO. 

When  thoroughly  ground,  now  heat  the  glass  quite  hot  over  a  stove, 
lamp  or  gas  jet.  Then  with  a  small  piece  of  paraffine  candle,  rub  over 
the  back  of  the  picture  until  it  has  melted  over  every  part.    Rub  it 


(5) 


very  thoroughly  with  the  candle,  and  then  while  it  is  still  hot,  rub  it 
well  with  a  cloth  also.  If  this  cloth  is  well  saturated  with  paraffine 
'  from  the  rubbing  of  sundry  pictures,  it  will  work  better,  and  the^sarne 
I  cloth  can  be  used  over  and  over  again  for  this.  Always  keep  the 
I  glass  hot  enough  to  keep  the  paraffine  melted  while  you  are  rubbing 
'  it. 

Now  let  it  cool  a  little,  and  before  the  paraffine  has  become  entirely 
,    hard,    take  a  clean  dry  cloth  and  rub   off   the    surplus  paraffine 
;    until  it  is  quite  clear  of  it ;  still  it  don't  want  to  be  rubbed  too  hard 
\    or  too  dry,  or  while  it  is  too  hot,  or  the  cloth  will  absorb  too  much  of 
ihe  parafhne  from  the  picture,  so  that  when  it  cools  small  white  spots 
1    are  apt  to  appear.    When  cool,  examine  it  thoroughly  by  looking 
'    through  it,  and  also  by  laying  it  ^own  upon  something  d/a^:^.    If  it  is 
I    not  perfectly  clear,  or  if  there  are  ^hite  spots  or  traces  of  a  white 
1    scummy  appearance,  you  must  heat  it  again  to  melt  the  paraffine,  and 
j    then  with  the  ornery  cloth  grind  it  briskly  over  these  thick  places  or 
I    spots,  and  try  to  grind  or  scratch  into  them  somewhat.    The  emery 
I    cloth  will  not  take  hold  of  the  paper  so  much,  or  be  as  apt  to  grind 
through  while  the  paraffine  is  upon  it,  as  when  it  was  dry,  so  don't  be 
too  afraid  of  grinding  through.    You  should  usually  keep  it  hot  while 
,    grinding  it,  although  it  can  also  be  ground  while  the  paraffne  is  cold, 
but  it  will  not  take  hold  so  quickly.    Still,  whether  hot  or  cold,  if  you 
grind  it  too  much  you  might  flake  off  some  of  the  paper  or  grind  it 
r    clear  through.    You  will  have  to  keep  rubbing  it,  and  grinding  it  in 
'    this  way,  (either  while  it  is  hot  or  cold)  until  you  think  you  have  got- 
I     ten  every  place  thin  enough.    If  you  grind  it  cold,  you  must  always 
(    heat  it  again  afterwards.    Then  let  it  cool  and  examine  it  as  before. 
)       If  there  are  still  some  opaque  looking  places  or  spots,  the  only 
\    thing  to  do,  is  to  keep  grinding  and  heating  it,  and  at  the  same  time 
rubbing  on  a  little  more  paraffine  occasionally.    Some  pictures  and 
some  paper,  is  quite  troublesome  to  get  clear  perfectly,  but  you  must 
!    keep  to  work  upon  it  until  you  have  it  so,  or  you  cannot  color  it  as 
well. 

NOTES. 

There  are  various  othet  methods  of  making  the  picture  transparent, 
and  in  a  much  easier  way  without  the  trouble  of  grinding  at  all. 
These  methods  are  by  applying  oils,  balsams  and  varnishes  to  the 
paper,  which  readily  penetrate  it.  Wax  or  paraffine  will  not  penetrate 
the  paper  sufficiently  to  make  a  brilliant  picture  of  this  kind  without 
grinding.  Many  have  used  or  taught  those  methods,  and  sometimes 
quite  pretty  pictures  have  been  so  made,  but  the  trouble  was,  the  oils 
or  varnishes,  &c.,  wowld  soon  dry  or  thicken,  and  the  picture  would 
become  spotted  or  turn  yellow. 
\  A  method  which  has  been  frequently  taught,  consists  in  using  castor 
>    oil,  which  makes  the  paper  beautifully  clear,  but  soon  after  it  was 


(6) 


painted,  it  v/ould  begin  to  fade  or  spot.  Nothing  can  keep  the  oil,  or 
any  other  liquid  preparation  in  the  paper,  without  its  drying.  This 
method  is  very  easy  to  do,  and  there  is  much  less  danger  of  injuring 
the  picture,  and  consequently  many  might  at  first  get  a  prettier  result 
than  by  the  grinding  method,  but  they  should  remember  that  no  mat- 
ter how  fine  their  pictures  look  at  first,  they  will  not  last.  It  is  there- 
fore much  better  with  a  little  practice  to  get  used  to  the  grinding,  and 
to  be  able  to  make  a  picture  which  can  be  recommended  to  last. 
When  pictures  are  properly  ground  and  painted,  the  results  are  much 
finer  than  by  the  other  methods. 

Besides,  the  grinding  and  paraffine  method  is  the  only  w^ay  knov/n 
to-day  by  which  these  pictures,  (or  any  transparent  paper  photos,  to 
be  colored  from  the  back)  can  be  made  lasting. 

Paraffine  preserves  the  transparency  and  picture,  because  it  is  a 
chemically  unchangeable  substance,  while  oils  and  liquids  are  not. 

Paraffine  heated  over  110°  melts,  but  ordinary  heat  or  cold  does  not 
affect  it.  Pictures  made  transparent  in  this  way  can  be  put  aside  for 
any  length  of  time,  and  they  will  bear  handling,  dust,  &c,  If  they  be- 
come scratched,  or  if  rubbed  too  Iiard  with  anything  damp,  or  if  water, 
chemicals,  &c.  get  upon  it,  it  does  not  affect  the  paraffine,  but  may 
soften  the  film  or  paper  under  it,  and  so  dull  the  transparency,  but 
this  can  always  be  remedied  by  heating  and  applying  a  little  more 
paraffine. 

After  it  is  once  painted  and  sealed,  nothing  is  ever  likely  to  get 
at  the  back  of  the  picture,  aad  it  will  not  change  or  lose  its  brilliancy. 

Before  painting  the  picture,  and  before  the  paraffine  is  cold,  it  should 
be  rubbed  perfectly  smDoth,  with  a  dry,  clean  and  rather  coarse  cloth, 
and  well  polished.  Rub  off  all  the  remaining  paraffine  possible  in 
this  way.  You  cannot  rub  into  the  picture  or  rub  off  too  much  para- 
fine  when  it  is  cold,  without  your  cloth  is  damp,  or  so  coarse  as  to 
scratch  into  it. 


PAINTING  TIE  SEGtlNB  GLASS. 

FLESH  COLOR. 

Place  a  second  glass  at  the  back  of  the  prepared  picture  and  fasten 
the  glasses  together  temporarily,  with  two  or  three  small  slips  of  pa- 
per, with  some  paste  or  gum  rubbed  upon  them.  Now  paint  on  the 
back  of  the  glass  as  follows :  First  take  the  oil  tube  colors,  unscrew 
their  caps  and  press  out  a  very  small  quantity  of  each  upon  a  glass 
or  plate.  Of  the  White  you  would  need  much  the  larger  portion. 
Now  take  a  small  c(uantity  of  the  White  upon  a  penknife,  and  place  it 
in  a  clear  place  on  the  plate.  Than  take  the  smillest  quantity  possi- 
ble of  the  Vermillion  upon  the  point  of  the  knife,  (a  speck  not  even 


as  large  as  the  head  of  a  pin)  and  with  the  knife,  mix  it  thoroughly 
with  the  White.  It  merely  wants  enough  of  the  Vermillion  to  tint 
the  White  the  most  delicate  pinkish  shade,  but  not  red.  Next  take  a 
little  N.  Yellow  in  the  same  manner  and  mix  it  with  the  Wliite.  This 
will  give  it  a  warmer  or  slightly  yellowish  shade,  more  like  real  flesh. 
Take  a  little  of  the  paint  on  the  largest  brush  and  apply  some  to  the 
back  of  the  glass  behind  the  face.  Now  turn  the  picture  over  and 
lay  it  face  upwards  upon  a  piece  of  black  cardboard.  You  can  now 
see  the  depth  of  color  as  it  appears  showing  through  the  picture.  If 
it  don't  suit  you  wipe  it  off,  and  try  making  a  different  shade.  If  it 
looks  too  pink  put  in  a  little  more  White,  or  if  too  pale,  put  in  a  little 
more  Red  ( Vennillioii)  or  Yellow.  You  can  compare  the  tint  by  the 
color  of  y(>ur  own  hands.  The  color  should  never  be  very  deep  and 
avoid  getting  it  very  red.  Children  and  persons  of  delicate  complex- 
ion, will  want  the  faintest  trace  of  either  red  or  yellow.  Ruddy  or 
flushed  complexions,  more  red.  Some  might  not  want  any  red  but  a 
little  yellow.  Dark  complexioned  or  elderly  persons,  may  want  a  fail 
quantity  of  red,  but  enoucjh  yellow  also,  to  take  off  the  reddish  tint,  and 
to  give  more  warm,  or  yellowish  complexion  to  the  flesh.  A  great 
deal  will  depend  on  the  tone  and  strength  of  the  photo  you  are  paint- 
ing. All  is,  get  the  flesh  color  as  near  right  as  it  appears  to  you  is 
possible,  and  when  this  is  decided  upon,  then  spread  the  color  on  very 
thick  and  opaque,  all  over  the  flesh,  face,  hands,  &c.  Go  over  the 
eyes,  mouth,  &c.,  the  same  as  if  they  were  not  there,  and  even  mous- 
taches, whiskers,  &c.,  if  they  are  not  very  large,  can  all  be  gone  all 
over  v;ith  the  flesh  color.  Sometimes  even  the  hair  also,  in  the  same 
way.  It  don't  make  much  difference  how  these  pictures  look  at  firsts 
as  they  are  afterwards  to  be  painted  and  tinted  on  the  back  of  the  pic- 
ture. Flesh  color  should  always  lap  over  a  little,  all  around  next  to 
the  hair,  background,  &c.  When  it  is  applied,  it  should  if  anything 
look  a  little  weaker  and  pale^  than  it  is  really  to  appear  in  the  finished 
picture,  (but  never  darker  or  more  red),  as  it  should  be  remembered 
rhat  the  tints  of  the  cheeks,  lips,  &c.,  are  to  be  put  on  afterwards,  on 
the  back  of  the  picture,  and  this  will  deepen  the  complexion  so  much 
more. 

HAIR,  WHISKERS,  &c. 

If  you  did  not  go  over  the  hair  &c.,  with  the  flesh  color  as  sug- 
gested, now,  (and  especially  when  the  hair  or  whiskers  are  large  and 
well  defined  in  the  picture)  you  can  make  a  hair  color  on  purpose  to 
put  back  of  these,  but  it  is  not  necessary  to  give  them  the  actual  tint 
desired,  by  this  painting  on  the  glass,  as  they  are  invariably  to  be 
also  painted  on  the  back  of  the  picture  afterwards. 

In  nearly  all  cases  where  the  hair  is  dark  in  the  photo,  and  whether 
it  is  to  be  light  brown,  dark  brown  or  black,  the  best  color  to  use 
back  of  these  is  light  brown.   Take  White  with  a  little  V.  Brown  mix- 


(8) 


ed  with  it,  and  which  color  when  applied,  will  merely  make  a  little 
more  contrast  between  the  flesh  and  hair,  than  if  you  have  gone  over 
both  with  the  flesh  color. 

You  should  avoid  using  dark  shades  upon  the  back  glass,  or  it  will 
make  too  much  contrast  and  show  strong  lines  between  the  colors. 
When  hair  is  white,  or  very  grey  in  the  photo,  you  can  put  clear  White 
back  of  it.  If  yellow  or  golden,  use  N.  Yellow,  but  perhaps  with  some 
White  in  to  lighten  it,  or  a  little  Brown  to  darken  if  desired. 

COLLARS,  BOSOMS,  WHITE  DRESSES,  &c. 

Put  clear  White  back  of  these,  and  put  it  on  thick.  Small  collars 
and  bosoms  are  usually  to  be  painted  on  the  back  of  the  picture  with 
White,  and  to  be  put  on  opaque,  so  that  it  does  not  make  much  dif- 
ference whether  it  with  or  flesh  color,  or  any  light  shade  that  is  under 
them.  But  for  white  dresses,  large  bosoms,  and  coUars,  they  should 
have  plenty  of  white  on  the  back  of  them,  as  it  may  not  always  be  best 
to  paint  them  on  the  back  of  the  picture  (especially  with  opaque 
White)  as  they  frequently  look  softer  without.  On  the  back  glass, 
the  White  should  always  be  put  on  to  lap  over  a  trifle  at  the  edges, 
next  to  all  darker  parts  of  the  picture. 

Painting  on  the  back  glass,  and  especially  for  the  flesh,  white  and 
lightest  parts  of  the  picture,  the  object  is  to  give  these  a  softness  or 
ivory-like  appearance,  which  it  is  impossible  to  get  if  painted  entirely 
on  the  back  of  the  picture. 

But  in  the  darker  parts  of  the  picture,  this  softness  is  not  required, 
and  it  makes  little  difference  whether  painted  on  the  back  glass  or 
not,  when  they  are  painted  with  opaque  colors  on  the  back  of  the  pic- 
ture afterwards. 

BACKGROUNDS. 

The  color  used  for  these  should  almost  invariably  be  of  a  light 
shade.  Take  White  with  the  smallest  trace  of  Blue,  and  perhaps  a 
little  Black  also  added,  to  take  off  the  decided  blue  tint.  This  color 
generally  answers  the  best,  whether  the  background  is  light,  dark  or 
medium  in  the  photo.  It  may  not  appear  as  if  it  was  dark  enough 
when  applied,  or  it  may  look  as  if  there  was  not  enough  contrast,  so  that 
the  entire  picture  looks  as  if  it  was  weak  after  the  entire  background 
colors  has  been  put  on,  but  by  using  a  light  color  you  avoid  so  much 
showing  over  of  decided  lines  between  the  colors,  and  by  afterwards 
working  up  the  tint  of  the  background  on  the  back  of  the  picture,  you 
get  a  better  effect  usually,  than  by  using  stronger  colors  on  the  back 
of  the  glass. 


(9) 


COATS,  DRESSES,  &c. 

Th^se  are  to  be  painted  on  the  back  of  the  picture  afterwards,  and 
almost  invariably  with  opaque  colors.  Therefore,  it  does  not  make 
much  difference  what  colors  are  back  of  them  on  the  glass,  or  whether 
you  put  any  upon  or  not. 

It  is  frequently  about  as  well  to  carry  the  same  color  you  have  been 
using  upon  the  backgrounds,  all  over  the  coats,  &c.,  and  all  other 
parts  of  the  picture  you  had  not  before  painted.  However,  if  a  person, 
for  the  sake  of  practice  merely,  wishes  to  try  to  get  them  as  near  as 
possible  to  the  shade  wanted,  by  this  painting  on  the  glass,  it  will  do 
no  harm  to  do  so.  They  can  use  White  mixed  with  Black,  back  of 
black  coats,  &c.,  Vermillion  for  red  or  maroon  dresses,  Prussian  Blue 
and  White  to  make  a  bright  Blue.  Blue  and  Yellow  mixe  l  together  will 
make  Green.    Any  color  can  be  tried  to  suit  fancy. 

Jewelry,  flowers,  &c.,  or  any  of  the  small  parts  of  the  picture,  are 
not  painted  on  the  back  glass,  but  always  afterwards  on  the  back  of 
the  picture. 

When  the  back  glass  is  fully  painted,  separate  the  two  glasses,  and 
proceed  to  painting  the  picture  on  the  back. 

NOTE. 

The  foregoing  description  has  been  made  carefully,  to  enable  any 
one  without  previous  knowledge  of  painting  or  colors,  to  get  well  used 
to  them.  If  the  colors  on  the  back  of  the  glass,  do  not  appear  to  suit 
them,  they  can  easily  wipe  them  off  with  a  cloth,  and  try  them  over 
again  as  often  as  they  wish,  thus  getting  some  practice  before  begin- 
ning to  paint  on  the  back  of  the  picture  itself. 


PAINTIITG  ON  THE  BACK  OF  PICTURES. 

CHEEKS,  LIPS,  &c. 

First  take  the  smallest  possible  quantity  of  Scarlet  Lake  upon  the  \ 
brush.    (This  must  previously,  and  always  before  using  other  colors, 

have  been  well  cleaned,  by  dipping  it  in  naptha  several  times,  and  [ 

wiping  it  dry  upon  a  cloth.)    Now  rub  the  color  lightly  upon  the  mid-  - 

die,  or  roundest  part  of  the  cheeks.  \ 

Then  with  the  finger,  soften  it  and  rub  it  almost  entirely  off  again,  ! 

leaving  merely  a  sufficient  trace  of  the  color  to  give  it  a  tint.    Do  not  { 

rub  it  all  over  the  face,  but  try  to  remove  the  surplus  carefully,  and  ) 

each  time  after  touching  it  with  the  finger,  wipe  the  finger  clean  upon  { 

a  cloth.    The  tips  of  the  ears  and  also  the  chin  can  be  slightly  tinted  ) 

in  the  same  way.    Crimson  Lake  is  usually  better  to  tint  the  lips  \ 

with.  i 


(10) 


FACE,  &c., 

If  some  of  the  shadows,  or  lines  of  the  face,  appear  weak,  th^  can 
sometimes  be  strengthened,  by  rubbing  on  very  Hghtly  and  softly,  a 
little  V.  Brown,  or  naix  a  trifle  S.  Lake  with  it. 

For  tinting  the  cheeks  and  various  parts  of  tlie  face,  sometimes  use 
S.  Lake  with  a  little  N.  Yellow. 

Seldom  try  to  use  White  upon  the  face,  as  this  is  opaque,  and  des- 
troys the  softness,  but  the  colors  used  must  be  put  on  thin,  and  very 
transparent,  and  softened  down  by  blending  with  the  finger  or  with  a 
clean  brush.  If  you  don't  get  it  to  suit  you,  wipe  it  all  off  with  a  dry 
cloth,  and  try  it  again.  Your  fingers  should  not  be  damp  when  you 
try  to  soften  or  to  rub  color  off,  and  don't  rub  too.  hard.  If  the  color 
does  not  come  off  readily,  touch  a  little  Megilp  upon  it,  and  wipe  it  off 
dry  with  a  cloth. 

Sometimes,  or  which  is  most  usually  the  case,  and  before  trying  to 
tint  the  cheeks,  lips  &c.  at  all,  it  is  well  to  go  all  over  the  face  with 
a  mixture  of  S.  Lake  and  N.  Yellow,  very  thin.  It  must  be  neither 
very  red  or  very  yellow.  Have  a  little  upon  the  brush  and  do  not 
spread  it  on,  but  with  a  circular  brushing  motion,  merely  work  on  the 
least  possible  trace  of  the  color.  Now  rub  it  almost  all  off  again  with 
the  finger,  to  soften  it,  and  so  that  the  picture  still  appears  quite  trans- 
parent. Enough  of  the  color  will  remain  to  give  it  a  flesh  tint  and 
warmth  to  the  entire  face,  and  when  worked  in  this  way,  the  picture 
has  frequently  more  force  and  brilliancy.  If  the  color  is  on  too  thick, 
you  lose  the  softness,  and  it  will  look  coarse  and  chalky.  If  too  thin, 
it  will  not  have  force  enough,  especially  if  the  photo,  is  flat,  light  or 
weak. 

After  the  entire  flesh  has  been  given  a  tint,  in  this  manner,  the 
cheeks,  lips,  &c.  can  then  be  tinted,  by  working  through  the  other 
color,  a  little  clear  S.  Lake  or  C.  Lake  as  before  described. 

When  in  putting  on  the  flesh  tints,  a  little  of  it  has  rubbed  over 
into  the  background,  &c.,  now  remove  it  carefully  with  a  cloth  from 
tho  e  parts. 

Tinting  the  face  nicely,  is,  of  course,  the  hardest  part  of  the  paint- 
ing, and  until  one  has  tried  it  a  little,  it  is  sometimes  about  as  well 
to  finish  most  of  the  other  parts  of  the  picture first^  and  to  do  the  face 
afterwards,  as  they  may  then  be  better  able  to  form  their  opinion  as 
to  the  depth 'of  the  face  color,  and  its  general  appearance. 

BACKGROUNDS. 

If  these  are  light  in  the  photo,  it  is  best  to  keep  them  light  in  the 
picture,  and  not  to  try  to  darken  too  much.  A  dark  background  can 
not  be  made  light. 

Usually  the  best  tint  to  use,  is  the  same  as  you  used  on  the  back 
glass,  that  is  :  White  with  a  little  Blue  and  Black  mixed  with  it.  It 


(11) 


should  be  medium  light,  but  still,  a  trifle  darker  than  you  used  on  the 
glass,  say  with  a  little  more  of  the  Blue  and  Black  in  proportion  to 
the  White. 

A  little  Crimson  Lake  also  added,  often  improves  it  and  gives  it  a 
warmer  tint. 

Backgrounds,  whether  light  or  dark  in  the  photo,  want  usually  to 
have  a  slightly  blueish  shade,  to  change  it  from  its  color  originally  as 
a  photograph.  If  dark  in  the  photo.,  it  will  require  a  stronger  blue 
to  give  it  a  blueish  t  nt,  than  where  the  background  is  light  in  the 
photo. 

Now  you  want  to  put  the  color  on  smoothly  and  evenly,  not 
very  thick  or  very  thin,  (but  still,  thicker  than  you  work  color  on  the 
face)  all  over  the  background,  by  gradually  working  it  on  with  a 
circling  motion  of  the  brush,  not  spreading  it  on,  but  try  to  get  it 
smooth,  so  that  it  does  not  look  scratchy  and  coarse.  You  can  soft- 
en it  by  touching  it  with  the  fingers,  or  with  another  brush.  If  there 
are  thin  places,  where  the  paper  had  flaked  off  in  grinding,  the  color 
will  show  through  lighter  where  these  places  are. 

Therefore,  for  these  places  make  a  little  darker  color,  by  adding 
more  Blae  and  Black,  and  try  to  work  it  through,  and  to  touch  up 
these  places  as  well  as  you  can,  by  working  on  the  color  directly  back 
of  the  places,  and  to  make  it  match  with  the  rest  of  the  ground.  If 
it  goes  over  too  far,  it  will  look  bad.  If  you  don't  get  it  right,  wipe 
it  off  with  finger  over  quite  a  large  space,  work  your  background 
color  again  all  over  it,  and  try  to  touch  it  up  again  better. 

IMPERFECTIONS. 

For  white  spots  &c.  which  are  frequently  found  in  photos,  especial- 
ly in  backgrounds,  (and  the  same  system  will  apply  when  they  are 
in  other  parts  of  the  picture)  or  for  white  places  caused  by  tearing, 
&c.,  do  not  carry  the  color  which  you  are  using  upon  the  background, 
&c.,  over  these  spots,  but  work  the  color  all  around  the  spots  or  light 
places  first,  and  then  take  a  dark  color,  say  clear  V.  Brown  or  Black, 
but  sometimes  with  a  trace  of  Blue  or  White  in  it,  according  to  the 
tint  you  have  upon  that  part  of  the  picture,  and  now  touch  these  spots 
carefully  and  exactly  upon  the  spot,  with  the  dark  color. 

This  must  be  done  with  a  fine  brush,  and  put  on  very  lightly,  or  it 
will  look  coarse.  When  white  spots  are  in  the  face,  they  can  usually 
be  touched,  in  a  similar  manner  with  Brown,  or  add  a  little  S.  Lake 
to  it. 

NOTE. 

Care  must  be  taken  in  working  on  the  background  color,  next  to 
the  edge  of  the  face  and  other  light  parts  of  the  picture. 


(12) 


When  a  background  is  dark  in  the  picture,  you  might  use  a  darker 
color,  but  of  a  similar  tint,  that  is,  with  more  Blue  and  Black,  in  pro- 
portion to  the  White,  and  work  it  on  in  a  similar  manner,  neither 
very  thick  or  very  thin,  but  try  to  soften  it  and  keep  it  smooth. 

COLLARS,  BOSOMS,  WHITE  DRESSES,  &c. 

Put  on  clear  White,  and  if  collars  are  small,  it  can  be  usually  put  on 
thick  and  opaque  Large  collars,  bosoms,  &c.,  although  the  White 
may  be  put  on  thick  if  desired,  they  usually  look  better  and  softer 
and  less  chalky,  if  you  work  on  a  thin  coating  of  White,  and  rather 
transparent,  the  same  as  working  colors  on  the  face.  Certain  parts 
can  then  be  sometimes  touched  up  with  lines  of  White,  put  on  more 
opaque  over  the  first  coating,  and  with  very  good  effect,  especially 
for  lace  work  &c  ,  where  it  is  desired  to  make  it  look  more  fleecy,  or 
to  bring  out  the  design  stronger. 

COATS,  DRESSES,  &c. 

For  these,  if  they  are  black,  use  Plack  and  White  mixed,  but  don't 
have  it  very  dark  or  it  will  lodk  coarse  and  flat. 

Put  it  on  thick  and  opaque,  so  that  no  brush  marks  will  show 
through.  Colored  dresses,  &c.,  do  in  the  same  way,  and  with  colors 
to  suit.  Even  if  a  dress  is  light  in  the  photo  and  wanted  to  be  blue, 
pink  or  green,  &c.,  put  the  color  on  opaque. 

For  ties,  ribbons,  &c.,  the  same  system  applies. 

JEWELRY. 

For  Gold,  use  N.  Yellow.    For  Coral,  C.  Vermillion,  &c. 

FLOWERS,  LEAVES,  &c. 

Color  to  suit  fancy.  For  Green,  mix  Blue  and  Yellow  together, 
and  add  White  to  lighten,  or  more  Blue  and  sometimes  Brown  or 
Black  to  darken. 

NOTE. 

If  you  have  not  already  painted  the  face,  it  is  well  to  do  so  now, 
before  the  hair,  whiskers,  &c.,  are  done,  and  in  the  same  way  as  be- 
fore described. 

HAIR,  WHISKERS,  &c. 

When  these  are  dark  in  the  photo,  and  are  desired  to  be  dark 
brown,  use  Brown  almost  clear,  but  usually  put  in  a  little  White  with 
it,  to  make  it  more  opaque. 


(13) 


Don't  put  it  on  too  thick,  If  it  iooks  too  brownish  or  too  reddish, 
add  a  little  Black.  For  black  hair,  use  Black  and  White  mixed. 
Never  use  clear  Black,  For  auburn  hair,  clear  Brown  will  frequently 
answer.    If  not,  add  a  little  S.  Lake  or  other  red  to  the  Brown. 

Light  brown,  golden  or  flaxen  hair  will  usually  take  light  in  the 
photo.  For  the  first,  use  Brown  and  White  mixed  light.  N.  Yellow 
for  golden  hair  or  add  a  little  White  to  it,  to  lighten,  or  Brown  or  Black 
to  darken  a  trifle  if  desired. 

For  flaxen  hair  use  White  with  a  little  Black  added.  For  white  hair 
put  on  clear  White  rather  thin,  and  then  you  can,  if  wanted,  touch  up 
some  of  the  hairs  with  fine  lines  of  White,  put  on  more  opac(ue,  to 
make  them  more  decided.  Gray  hair,  work  over  it  first  with 
White  and  then,  touch  some  of  the  hairs  which  appear  darker  in  the 
photo,  with  lines  of  Black  and  White  mixed. 

EYEBROWS. 

Touch  these  caretully  to  darken  some,  using  usually  clear  Brown 
put  on  very  thin,  or  Brown  and  White  mixed,  or  Black  and  White. 
Put  it  on  with  a  small  brush.  If  you  get  it  too  heavy,  soften  it  by 
touching  it  with  the  finger, 

EYES. 

If  the  person  had  blue  eyes,  they  will  probably  take  light  in  the 
photo.  Use  for  these  Blue  and  White  mixed,  sometimes  adding  a 
little  Black.  Put  it  on  lightly  and  carefully  with  the  finest  brush,  and 
exactly  on  the  eye  itself,  not  too  thick  or  too  thin.  For  dark  brown 
eyes,  use  Brown  and  White  mixed  rather  dark.  Clear  Brown  will 
sometimes  answer,  if  put  on  thin.  Grayish  eyes,  use  Black  and  White 
mixed  light.    Black  eyes  the  same,  but  darker. 

Touch  the  whites  of  the  eyes^in  each  corner  with  a  small  speck  of 
White. 

NOTE. 

The  picture  may  now  be  considered  finished.  If  desired  to  remove 
the  paint  for  the  purpose  of  doing  it  over  again  or  improving  it,  it 
can  be  wiped  all  off  with  a  dry  cloth,  while  it  is  still  fresh.  If  any 
trace  of  it  does  not  come  off  readily,  rub  on  a  little  Megilp  with  the 
finger,  and  then  wipe  it  all  oK  with  a  cloth.  When  paint  has  become 
dry  and  hard,  any  part  of  it  can  be  removed  without  intefering  with 
the  other  colors,  by  scraping  it  caiefully  with  a  fine  pointed  stick,  then 
rub  c/ti  a  little  Megilp,  and  wipe  it  all  off  again.  Use  no  Naptha,  Tur- 
pentine &c.,  to  clean  paint  from  pictures,  unless  you  wish  to  take  all 
of  the  color  off.  Then  you  could  do  so,  but  Megilp  usually  answers 
the  purpose,  and  if  that  does  not  take  all  trace  of  the  paint  off,  Nap- 
tha will,  but  after  using  Naptha,  the  picture  would  always  have  to  be 


(14) 


heated  and  Paraffined  again,  after  which,  it  will  be  just  as  good  as 
before,  and  ready  for  painting  again.  Thus,  colors  can  always  be  put 
on  and  taken  ofF  a  picture,  over  and  over,  until  you  get  it  painted  to 
suit  you,  and  without  much  danger  of  injury  to  the  picture,  with  or- 
dinary care. 

BINDING  THE  PICTURE. 

Cut  a  piece  of  card  board  the  size  of  the  glass,  then  with  a  few 
small  pieces  of  gummed  paper,  fasten  the  card  board  and  both  glasses 
all  together.  Then,  with  some  longer  strips  of  paper,  about  one  half 
inch  wide,  bind  the  whole  picture  together  at  the  edges.  When  the 
paper  is  dry,  it  can  be  trimmed  around  the  edges  evenly  on  the  top 
of  the  glass,  with  a  penknife. 

White,  or  any  other  colored  paper  will  answer  for  binding,  but 
black  tissue  paper  is  usually  best,  and  gives  the  neatest  appearance 
to  the  picture,  when  shown  without  a  case  or  frame. 

TO  REMOVE  THE  PHOTOGRAPHS  FROM  THE  CARD. 

The  Photo,  if  mounted,  should  be  soaked  in  cold  water  usually,  for 
an  hour  or  two,  or  over  night  will  do  no  harm.  Then  lay  the  picture 
down  upon  a  flat  glass  or  plate,  and  press  it  down  in  the  centre  with 
the  fingers.  Now,  with  the  right  hand  fingers,  bend  backward  one 
corner  of  the  card,  so  that  it  will  gradually  separate  from  the  photo. 
If  it  is  inclined  to  stick,  soak  it  more,  and  perhaps  this  time  in  hot 
water  a  few  minutes,  but  best  to  avoid  hot  water  if  possible,  as  it 
sometimes  blisters  the  photo.  Never  try  to  pull  on  the  photo,  to  sep- 
arate it  from  the  card,  but  always  push  or  roll  backwards  the  card 
itself.  Sometimes  the  card  will  stick  no  matter  how  much  it  has 
been  soaked.  In  this  case,  try  to  peel  off  or  rub  away  all  the  card 
board  possible,  then  put  the  picture  again  in  hot  water  a  few  minutes, 
and  then  with  the  back  edge  of  a  knife,  or  with  the  rubbing  tool, 
gradually  push  the  rest  of  the  card  back,  and  try  to  separate  all 
remaining  portions  of  it  from  the  picture.  Next  use  a  sponge  dip- 
ped in  hot  water  and  rub  it  gently  over  the  back  of  the  photo,  to  re- 
move any  traces  of  paste  or  gum.  Be  careful  and  not  rub  off  any  of 
the  paper  from  the  picture. 


3  4-5f  4- 


